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Tag Archives: The Hunger

What a shock. I woke up this morning to hear that Tony Scott leaped to his death off the Vincent Thomas Bridge in San Pedro. It reminded me about Leslie Cheung’s death (he too, leaped to his death, but off the Mandarian Oriental Hotel in HK.) and how shocking that was. He was still producing hit TV shows and films, still directing his fast-paced action films. It begs the question, why? Why would someone with still so much to offer, consciously, deliberately, kill himself? We can’t assume anything at this point. We can only remember what he left behind.

He gained a Hollywood calling card with “The Hunger,” and blasted onto the A list, with “Top Gun.” Both films were sexy and stylish. He has been criticized throughout his career for choosing style over substance, but hey, he was the director, not the writer, so for me, he tried to make the material look as good as possible.

Him and his brother Ridley, were some of the first feature directors to come from the world of commercials. That is oh-so common nowdays, Rupert Sanders (“Snow White and the Huntsman”) a recent example. Their stuff was so graphic and sexy, it perfectly fit the 80’s look.

A lot is being made about the brothers relationship, and how he never got the respect Ridley gets, but who really knows how much that factors into all of this. Since he’s producing partners with is brother, I’m sure their relationship is peachy keen. As for not getting as much respect… There are many “respected” filmmakers who are living off chips and salsa, right now, envying a fat paycheck. I’m sure Tony was OK with being a good, if not great director. Even if he didn’t have Ridley’s caché, he certainly influenced a whole generation of testosterone-filled, amped up action directors.

Smoke and shafts of light. A Tony Scott trademark.

One hot shot, a muscle jet, and American flag draped in the background. Over the top? Why not, it’s a Tony Scott film. How big was this movie? Wingman, need for speed, is still peppered in everyday conversation.

Like this:

I guess I’m on a Catherine Deneuve kick right now. I thought this might be good for anyone working on Fall. 80’s goth + sexy vampires.

The thing I love most about Deneuve is that she’s undeniably gorgeous, but she doesn’t use it to define her film career. If she were in America she’d be the girlfriend in many macho action movies or romantic comedies, then hit her 30’s and never work again unless it was as someone’s mom. But being in Europe, and being fearless in her work, she’s played many varied and complicated women. In Tony Scott’s, “The Hunger” she’s in her 40’s and playing a bisexual vampire!

You gotta love Bauhaus performing "Bela Lugosi's Dead" in the opening. The cage visual is repeated with the caged primates Sarah studies.

Miriam and John on the hunt.

A touch of the 40's through an 80's filter.

Leather jacket and mesh gloves. Love it! A very young Ann Magnuson.

Love her veil. Her wardrobe speaks to the fact that Miriam doesn't age. She just might be wearing something she wore in the 40's.

Another nice veil. It's also a subtle reminder that she is a vampire and must cover herself in the daylight.

A beautiful gown. Love the contrast lining.

Miram, Catherine, and John, David Bowie, are husband and wife and have been since 18th century France where they met. Miriam is a never-aging Egyptian Vampire. Her and John live in Manhattan and teach classical music. John was promised everlasting life when Miriam chose him to be with her. That did not mean everlasting youth, and John begins to age rapidly. He seeks the help of Sarah Roberts, Susan Sarandon, a doctor who specializes on aging disorders, who thinks he’s a weirdo and blows him off. When she sees him hours later and he’s aged decades she’s intrigued enough to look for him after he storms off.

A roller skater and a boom box. Ah, the 80's!

She goes to his house only to find Miriam. Unknown to her, John has been placed in a coffin, still alive, only to be trapped in his decrepit body for eternity.

Simple but amped up with the shoulder pads.

Miriam and Sarah...

...End up hooking up.

After Miriam exchanges blood with Sarah, Sarah becomes a sweaty, twitchy, “junkie” badly in need of a fix.

Sarah returns after being turned into a vampire, angry. More 40's suits for Miriam. I love that they did her hair from that era too. It avoids the sad 80's hair that Sarandon has.

Miriam, outside moments later, with another veil.

Miriam about to give Sarah her first feed.

Deneuve's face. Her porcelain skin and red lips are such a great match for 80's glam.

The movie was release in 1983, just as AIDS was becoming an epidemic, a killer of gay men, intravenous drug users, and blood transfusion recipients. Sex and blood are potent symbols of how dangerous sex became in the early 80’s. Miriam is the aggressor, and she is the one to “enter” her prey, “infecting them” by biting them, penetrating their skin. After feeding off their blood, they die.

In the end, Miriam meets a cruel fate. Her undead lovers drive her to her death. A metaphor of sorts of the Reagan era’s attitude on AIDS. “These people” somehow deserved their pitiful fate because of the irresponsible and “immoral” actions.